First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno / abyssal acid dub / tramadol tribalism / noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem...
It's an unflinchingly bleak representation of the world described in hard edged techno and shot thru with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album’s most affective moments, such as the wrecking ball assault of Bayley Tower [New Mix], the rubbled rolige of Stoneycroft Tower, or the ‘marish zumby techno lurch of Bromford Bridge Estate, and all in a way that surely dovetails with the perceptions of anyone who has lived in a built up British area, or anywhere else with lots of concrete and little sunlight.
The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon - the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak af, too. Tamiflu dry-wretches a windswept passage of bummed-out dub techno breaks, where Squalene [New Mix] glumly follows suit with the clammy synth malaise of Ethylene Glycol and the knee-buckled crawler Thimerosal, which sounds like one of his Godflesh tracks in the process of terrifying itself to death.
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Heartless is the new album from Brock Van Wey's epic ambient guise bvdub.
"Those who have been able catch him live have found themselves undoubtedly immersed in sound. With Van Wey's “ebb“ warmly cradling you in juxtaposition to the “flow” that teeters near the thresholds of human aural acceptance. There is no denying it, he excels at and revels in filling spaces with swirling waves of emotive tone. Heartless, for those keeping track, is his 29th bvdub album, origi- nally borne from the intention of reflecting the concepts and experience of a series of live shows from months and years before... a kind of prologue, as it were, that could further explain the painful impetus behind those live forays, and the life he attempted to escape within them.
However, shortly into the writing process, he found Heartless became something more than even he intended: an even greater layered, monumental, and autonomous experience than its original intention - and swept itself into a life of its own.
We've been treated to beat-less bvdub works before, but with Heartless, Van Wey has created something far more monolithic than what has come before it. The album starts as bvdub album's sometimes do: warm washes of sound below the soulfully angelic vocals that Van Wey often gravitates to, this time distant echoes, it seems. But with Heartless this is only your introduction... easing you in before plunging to the deep end. As time passes, what voices existed drown below visceral, amor- phous, unabashed waves of sound that are wholeheartedly more sinister in temperament than his previous works, and the perfect manifestation of n5MD's "heart to hands" ideology."
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For fans of moody ‘80s pop pomp, Death of Lovers’ 2nd album, The Acrobat packs all the aching emo swoon and synthy licks you could hope for. Think New Order, Duran Duran, John Hughes movies, montages of Reagan/Thatcher economics in effect, and buckets of salty, sugary nostalgia.
“Since the 2014 release of Philly outfit Death of Lover’s acclaimed debut EP “Buried Under a World of Roses”, many wondered if a full length follow-up for the band was even possible – largely due to the extensive touring schedule of Domenic, Nick, and Kyle’s other band: Nothing. But between 2016 and 2017, the four piece band (that includes keyboard player CC Loo) was able to find the time to focus, demo, write, and carve out a stunning new direction and polished sound for the band. “The Acrobat” represents that labor of love, and Death of Lovers have created one of the most eye-opening alternative records we’ve heard in years.
Thoughtful compositions weave driving synths, drums and guitars through lock-step rhythm and nostalgia before shattering into intricate and spacious instrumental breaks. There is a welcome complexity and depth to the tracks, which dance between moody and sweeping to sparkling and bright – creating a beautiful contrast to the honest and dark lyrics.
On the album single “The Absolute”, Domenic’s vocals (accompanied in harmony by drummer Kyle Kimball) take on the topics of selfishness and greed - “All in all is trembling fear – bound to fall on bludgeoned bell rung ears. A senseless world of worth, deceived by needing, and the crow who perches on your tongue – reminding you it won’t be too long.”
“Lowly People” is the band’s answer to PULP’s “Common People”, cast through the lens of their own upbringing: the streets of Kensington, Philly – where “Broken glass shimmers like the stars, summer air breeds a certain violence.”
Somehow, The Acrobat achieves warm familiarity while sounding completely new. While the tracks could easily have been included on the soundtrack to every one of your favorite 80s films, there is a fresh perspective and process evident in the songwriting that rewrites the “post-punk” rulebook.”
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Lindstrøm launches his most concerted pop effort with 4th solo album, It’s Alright Between Us As It Is, neatly incorporating vocals by Jenny Hval, Frida Sundemo, and Grace Hall in a seamless segue of seven sleek and disco-ready songs adapting 40 years of dancefloor history to a timeless but fresh style.
Spire lifts off with lagging ‘70s drums and Vangelis-style synth streaks, tailing off into the lattice of latinate ‘80s arpeggios in Tensions, and a purring beauty named But Isn’t It starring Sweden’s Frida Sundemo, and something resembling ‘90s trance breaks for disco mums and dads with Shinin feat. Grace Hall.
Drift gives room for some twanging instrumental expression, and Jenny Hval voices the album’s most impressive piece with a hushed, cryptic performance on the bittersweet acidic twyst of Bungl (Like a Ghost), fading out into a neo-classical keys and tempered symphonic lift of Under Trees.
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Sublime dream-pop beauty from Colleen, a gorgeous and crucial push and pull of experimental urges and pop immediacy. Make sure to check the brain-dancing percolations of ‘Another World’ and her exquisitely off-kilter title track. RIYL Arthur Russell, Teresa Winter, Delia Derbyshire...
Recorded in the wake of the 2015 Paris attack, which occurred just as she was visiting, A Flame My Love, A Frequency, finds Colleen setting aside her trusted viola de gamba to incorporate a Critter & Guitari pocket piano synthesiser and newly acquired Moog filter pedal into her feathered dub propulsion system, buoying her reflections on life and death, and bird-watching, with a creamy, bubbling backdrop that’s perhaps at odds, or even in defiance of personal strife in the preceding year.
Described in avian swoops, zig-zagging arpeggios and aerial shimmers, she flies the fine line between sorrow and beauty in a way that reflects that brutality and grace of the natural world as much as the scenes of Parisian cafes under blue skies which would turn into a bloodbath only hours later. This dichotomy lies at the heart of A Flame My Love, A Frequency, as Colleen navigates a flux of strong feelings between the exquisite instrumental melancholy of November thru to the title track’s plaintive cubist folk keen, emulating the sensation of flapping your wings hard against the headwind with Separating, and offering a sublime, necessary space for introspection with Summer Night (Bat Song), whilst the gently frothing, pizzicato piquancy of The Stars vs Creatures and One Warm Spark lend a more optimistic spin in their wistful shimmers, crucially not forgetting to dream in the face of so much shite.
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New York-based percussionist and sound artist Eli Keszler dropped jaws last year with his unstoppable one-two punch of the ‘Red Horse’ LP on Type and ‘Cold Pin’ on PAN. Admittedly this was the first most listeners had heard from him, but new devotees were quick to fall over each other to grab anything else Keszler had put his name to, so it’s a fan service from PAN that they’ve put together this bumper double CD that collects up all the disparate pieces of the Cold Pin recordings.
The original installation was set up in Boston’s cavernous Cyclorama gallery, and finds Keszler stretching gigantic strings across the walls and letting small motorized hammers ‘play’ them at random intervals. Accompanied by a group of similarly outré minds (Geoff Mullen, Greg Kelley, Reuben Son and wife Ashley Paul) the musicians played to the randomized booming strings, and now, unlike the studio recordings we heard on the previously released LP we can hear the piece in full unedited form, together with the gigantic reverb of the room itself.
Probably the most stunning addition to the original pieces though is Keszler’s recordings of the Cold Pin exhibit he set up in Shriveport Louisiana, where the strings were stretched across two large empty water purification basins. You probably have an idea of how that might sound, but needless to say Thomas Koner’s peerless ‘Permafrost’ might be a good place to start. Elsewhere we’re treated to a full ensemble recording (with the Providence string quartet), which reframes the piece as a defiantly modern re-imagining of Ligeti – dissonant, disconcerting and gruesomely eerie. Even if you’ve already bagged the LP you won’t want to miss out on ‘Catching Net’, it’s yet more proof that at only 28 years old Eli Keszler is already one of the most important voices in the experimental music scene right now. Highly recommended.
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Lee Gamble jacks directly into a latent stream of electronic wonder with his dream-like 'Koch' opus for PAN.
Running to 76 minutes over 16 tracks, it's Gamble's most substantial and arguably definitive work, following the beautifully effective 'Diversions 1994-1996' and 'Dutch Tvashar Plumes' releases for PAN in 2012. Where those records deconstructed the elusive, enigmatic timbre of '90s electronic dance music - jungle, techno, ambient - 'Koch' (pron. 'Cotch' - UK slang for relax) is a sort of 'Pataphysical reflection and projection of what lies beyond; a symbolic, imaginary solution to what could be perceived as a dearth of "soul" in modern electronic dance music, searching for a feeling that's all too often forgotten in current styles. And quite crucially, 'Koch' provides considered answers from a singular, if ever-shifting perspective, at once uncannily detached yet incredibly intimate, with the acute ability to recalibrate the mind's lense between abstract dimensions.
To pick individual tracks apart would be beside the point. The album works as a wormhole, or perhaps how we've come to imagine what a wormhole is from VR representations in movies, TV, and computer games - seeming to dissolve us between first and third person narratives, club and home listening environments, and the fleeting waves of emotion (narcotised or not) which perfuse and colour the hallucinatory spaces between. It's a very timely reminder of electronic music's efficacy in expressing the alien and a contemporary "otherness", and comes with a huge recommendation for immersive heads and dancefloor freaks alike.
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Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime.
The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity.
Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.
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Bruce Russell is a New Zealand experimental musician and writer. He is a founding member and guitarist of the seminal noise rock trio The Dead C and the free noise combo A Handful of Dust (with Alastair Galbraith). He has released solo albums featuring guitar and tape manipulation.
"In summer of 2013, Bruce Russell's daughter Olive Russell uploaded a documentary of her father that she shot and edited herself called "27 Minutes with Mr. Noisy: A Documentary about Bruce Russell" to Vimeo.com. "This will be alien music to many listeners. Guitars tuned to the occult settings of revenants like Skip James and then played with a knife in an uncanny re-contextualising of the sound of beer bottles against guitar strings on the original Metallic K.O.; massively deformed electronics that sound like swarms of static, that sound like the needle eating the vinyl; radio interference; broke down piano; sledgehammer fuzz… this is the sound of taking a live Stooges meltdown as the keys to the goddamn kingdom and as a secret intimation of the arc of the future. Now here it is" Taken from the sleevenotes of 'Metallic OK' by David Keenan, author of 'This Is Memorial Device'.
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After a long hiatus, Hyetal comes of age as a dance-pop artist in the mould of Jam City with ‘Youth & Power’, incorporating synths and songwriting by Gwilym Gold and post production by James Ginzburg (Emptyset).
"Coming together over three years since his critically acclaimed last album, Hyetal completes his transformation from off-kilter dance music producer to futurist pop visionary on Youth & Power. 'Previously my approach to writing music was very rooted in escapism,' says David Corney aka Hyetal. 'I began experiencing a sense of detachment in my life which led me to question how healthy this approach was. I wanted music to help me feel connected again.' Wrenching his music free from the 'confines of computer grids' and pushing melody to the forefront, Youth & Power's texturally rich, psychedelic palette is littered with live played synths, electric guitars, drum machines, processed noise and 'some under-loved 70s home keyboards' recorded at Hyetal's South London home studio.
'I'd describe it as experimental pop music,' says Hyetal. 'the sound is in part a return to music I was listening to as a kid, more song- and instrument-based.' Youth & Power is Hyetal's debut as a vocalist, also scrapping samples in favour of live instrumentation and hook-laden songwriting laced with myriad influences. 'I took some time out to teach myself how to sing using an app on my phone. At first I found my vocals worked best for me when there was some distance from the natural sound of my voice so everything was abstracted through a few different processes.' he explains, 'As I became more comfortable singing I decided I wanted to contrast this approach and use some natural sounding vocals that embraced the imperfections'. The album strikes a balance between robotic Kraftwerkian simplicity and soulful organic pop, contrasting the various pitch-shifting and abstracting vocal effects with sharply concise lyrics. Semblances of Hyetal's origins in Bristol's early dubstep movement are still present too, deep inside the album's meticulous rhythm beds. Elsewhere chiming retro keyboard notes and drum machine beats at times recall the likes of Yellow Magic Orchestra contrasting against waves of guitars and noise which bring to mind the influence of Bauhaus and other post punk experimentalists.
Written as a form of catharsis for Hyetal in his search to return his music from detachment, Youth & Power seeps a sense of hope. 'I found from a distance the most immediate workings of humanity can appear extremely brutal', says Hyetal, 'but when looking through this lens you miss the beauty that happens in the moment.'
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Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting ‘floors from his home city, NYC to his DJ residency at Berghain, Berlin.
In Dominick Fernow’s Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12”s for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, he reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out, Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.
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Adam Taylor’s emotional, swelling score to “The Handmaid’s Tale”.
"Taylor is a film score composer based in Long Beach, California known for his subdued, emotional, and minimalistic scores. He has become a prominent and sought after composer in the indie film space, most recently scoring BEFORE I FALL from director Ry Russo-Young.
“The systems are the antagonist of the series, a relentless and indifferent force that is slowly disfiguring society and the inhabitants of Gilead,” Taylor explained. “I thought about it like waves of sound, waves that slowly grew in volume and dissonance until it overcame the senses.” This score will appeal to fans of Brian Reitzell’s “Hannibal”, along with more acoustic works by Clint Mansell and Cliff Martinez."
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Kjetil André Mulelid – piano Bjørn Marius Hegge - double bass Andreas Skår Winther – drums
"Following in the footsteps of In The Country and Espen Eriksen Trio, Kjetil Mulelid Trio is the third piano trio to appear on Rune Grammofon. Although they can be placed in the same musical landscape, it´s also fair to say there are certain obvious differences. There´s a solid dose of youthful playfulness and curiosity at work here, at the same time they show an assured maturity that belies their age (26, 26 and 29).
The music is based on compositions by pianist Mulelid - inspired by everything from psalms to free jazz - but there is also room for collective improvisation. It can be energetic, rhythmically complex and harmonically rich, but also intimate and with a beautiful melody. They work purely with acoustic sounds and timbres and are constantly reaching for new ways to express themselves within these frames."
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Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
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Beautiful new album from longtime Room 40 friend and collaborator Ueno Takashi
"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over 10 years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unex-pected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tennis-coats, or his almost endless stream of solo releases, many of which exist in very short run editions, his mu-sic typifies a tireless desire to explore. Recently Ueno’s curve ball has been his project Off Strings with Vice Japan, where he talks to leading Ja-panese guitarists. It’s an incredible series of interviews, which I heartily recommend checking out.
The re-sults have been quite extraordinary and his session with Haino Keiji a personal favourite of mine. Yet an-other pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approaches to guitar. Sui-Gin, his first solo for us, almost 10 years old, remains one of Room40’s most individual sounding recordings. It’s a col-lection of alien tones, uneasy yet beautiful. To this day I still can’t quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humour about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on this is minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about perfor-mance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan’s true master’s of his craft."
Lawrence English, October 2017
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As promised, Throbbing Gristle cough up what is essentially their Best Of… on vinyl for the first time, repackaging and expanding their 2004 CD, The Taste of TG (A Beginner’s Guide to the Music of Throbbing Gristle), with Almost A Kiss, taken from the Part Two - The Endless Not album, which serves to now bookend the collection between 1975-2007 and offer a broader, truer picture of the nonpareil, infinitely influential group’s jagged timeline.
There’s nowt we can add to the mountain of writing already on Throbbing Gristle. But, in context of the release, for the uninitiated, afeared, or just plain ignorant listeners out there who haven’t a clue what TG are about, we advise cupping this album with both hands and drinking deeply, then deciding which of their bloods tastes the strongest, and pitching yourself down the rabbit hole of their corresponding catalogue. Then read Cosey Fanni Tutti’s Art Sex Music to put it all in historic context.
You’ll thank yourself for it soon enough, even if the neighbours don’t.
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Sound artist Tomoko Sauvage adds the gorgeous, elemental waterbowl recordings of Musique Hydromantique to a wonderful run of 2017 releases on Félicia Atkinson & Bartolomé Sanson's Shelter Press. Quite possibly the most soothing hour of music you'll experience all year
It will become hard to believe once you’ve heard it, but all sounds on the LP were improvised with acoustic technique and recording - meaning no electronics, edits or overdubs - whilst they effectively sound like the microtonal output of some unique, natural synthesiser affected by subtle variables such as temperature, architecture, humidity and human presence. If Philip Corner and Eliane Radigue ever made a record together, it may well sound like Musique Hydromantique.
Using a set-up of hydrophones (underwater mics) and porcelain bowls filled with varying amounts of water, developed by the artist over the better part of this decade, Musique Hydromantique forms a meditative, experimental study in rhythm and pitch which resonates with gamelan and ancient divination techniques as much as it does with minimalist modern electronics. The results are utterly captivating in their fluid timbres and plaintively plangent structure, rendering the elusive, ever-changing and hypnotic phenomena of moving water in three diverse states or sonic sculptures that patently demonstrate a deep, underlying and innate connection between the performer, her medium, and the listener.
Clepsydra - meaning ‘water clock’ - most closely resembles a form of gamelan practice, or, even some form of minimal electronic music. For ten minutes she renders a series of exquisitely variegated sonic glyphs gestured from her struck bowls and hands changing the quantities of water, and by extension, the pitch of each bowl. Tomoko makes a real virtue of everyday sounds, resulting in a time-dilating passage of smooth glissandi, elegantly unshackling our internal clocks from the anticipation of quantised convention.
Fortune Biscuit follows in a very different style. Here, the brownian flow yields a remarkable micro-ecology of sounds that almost mimic animals, cyborganic mechanisms and insect choruses, yet they were entirely generated by a piece of porous terra cotta (biscuit) dipped into water. The scuttling patterns are perhaps understandable in that context, but we’re utterly baffled how they also make those pealing, arcing harmonic partials. In the final, 20 minute piece, Calligraphy those techniques serve to gel and diffuse her water-based sounds in even more bewildering fashion, as she employs the 10 second reverbs of an old textile factory to render her delicate, subaquatic sounds in a play of fractious drips, haptic rubs and their resonant feedback, feeling to melt time entirely and open a tranquil space for divination of your own senses in between those perceptions of time and tone.
This is a record that seems to have been designed to promote ultimate well being, it will completely engulf and subsume your senses and keep your attention rapt from start to finish. And we'd echo Tomoko's request that you listen to it at the start or end of the day for optimal results - far healthier than a spliff or night cap and will set your mood like some kind of ancient tuning fork.
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Prodigal avant synth-pop star John Maus - an important early collaborator with Ariel Pink (who guests here) - returns to the scene he was instrumental in setting with Screen Memories, marking up his first album since We Must Become The Pitiless Censors Of Ourselves [2011] and one of the most addictive records of the year thus far.
The palette remains mostly unchanged from his chain of previous Maus classics, as written for and released by Upset! The Rhythm and Ribbon Music during the ‘00s. But the tone, timbre and layering of his synths, drum machines and vocals in Screen Memories are discernibly tweaked for emphasised flavour and emotive affect. The results find Maus better expressing his contemporary concerns thru the prism of outmoded equipment, giving voice to the truth of timeless, absurd matters in an ever-more personalised style of pop articulation.
Under the wonderfully evocative header Screen Memories, a title which simultaneously conjures reflective, nostalgic imagery and possibly suggests a sort of picnoleptic reaction to the hypermodern narcissistic condition, Maus parses his own image and sense of self from the TV ‘snow’ or distortion of reality. It appears as a self who can’t escape the formative digital tang of the ‘80s which underlines so much of the modern world, yet a one who lives and dreams in the here-and-now.
It’s a supremely smart demonstration of avant-pop as playful metaphor, with Maus merging/duetting ever closer to his fine-tuned synth as a form of basic AI, occupying a strange harmonic uncanny valley of phosphorescing shadowplay between his probing hooks, bathing in the plasmic timbre or temporal and cognitive dissonance of late capitalism.
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The Basic Channel don meets the folk musicians of Bishkek, Kyrgyzstan for a beguiling exchange and fusion of traditions crossing paths between haunting acapella vocals, virtuosic instrumentation and sublime, dub-wise 4th world panoramas.
Locating MVO diversifying his bonds along outernational vectors, just like his BC bandmate Mark Ernestus with Ndagga Rhythm Force or Obadiah, the results form a series of studio portraits and wistful, impressionistic abstractions. They transport us to a place well off the usual map, to rugged lands once crossed by The Silk Road, where preserved, ancient traditions still reveal ghostly traces of the voices and sonic cultures which passed thru them.
The original arrangements of Ordo Sakhna range from complex, airborne string flights to nerve-jangling mouth harp pieces and a few stunning acapella pieces, which to our untrained ears resemble both Middle eastern, Indian classical and Chinese traditions, whilst the Drums track would appear to catch MVO in lissom fusion with live percussionists.
The multiple MVO dubs are a huge attraction, too. None more than the jaw-dropping Facets, where drums are swept in mountainous dynamic across the stereo field, joined by Hassell-esque dream tones and twanging mouth harp in one of the master’s most abstract, mercurial works in memory, whilst Bishkek, May 2016 catches them in live form at the Kyrgyzstan edition of Unsound festival, and the rolling Draught, and its version frame the spirits of Ordo Sakhna in his signature dub techno style, with results comparable to Shackleton when he removes the straight kicks.
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“On Mikrojazz, their cutting edge joint project for RareNoise Records, German saxophonist Philipp Gerschlauer and guitarist David Fiuczynski explore the world of music that falls between the cracks of the tempered scale. Joined by jazz drumming legend Jack DeJohnette, fretless electric bassist Matt Garrison and microtonal keyboardist Giorgi Mikadze, this daring crew creates dreamy, otherworldly soundscapes on tunes by Gerschlauer like aptly-titled Hangover and LaMonte’s Gamelan Jam along with a swinging microtonal tune “Mikro Steps“ and other originals like Fiuczynski’s MiCroY Tyner, Zirkus Macabre and Lullaby Nightmare.”
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Brian Shimkovitz returns to SA with pure house heat from Professor Rhythm. Check for infectiously slower parallels to the NYC garage/house and New Beat phenomenon of the late ‘80s in the strident, acidic ‘Leave Me Alone’, the piano house lixx of ‘Kancane Kancane’ and the tuffer push of ‘Zama Zama’
“Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980’s, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm. He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn’t taken over yet. There wasn’t instrumental electronic music yet in South Africa. As the '80s came to a close, that was about to change.
Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold—which itself stems from band’s channeling influences like Kool & the Gang and the Commodores—into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold. There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next.”
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Remastered edition of Throbbing Gristle's best known and most suavely subversive LP, the one that completely re-defined the meaning of industrial music.
Referencing the band's influences outside of the avant-garde - among them ABBA and Martin Denny - it's the most outwardly accessible thing they ever recorded, but it's not without its harder, grimier moments, like the pummelling 'Discipline', with P.Orridge barking orders at you like the SM drill sergeant of your nightmares.
The shorter instrumentals are especially satisfying: we open with the droning, dysphoric ambience of 'Beachy Head' (think Eno's On Land via Lustmord), a paean to the suicide hot-spot that appears on the album's cover, while 'Tanith' and 'Exotica' sound like a seriously strung-out, sleep-deprived jazz ensemble channelling Aphex's Selected Ambient Works II.
Of course it's the "pop" numbers which stand out: Gen has never sounded so drolly superior as on 'Convincing People' and 'Persuasion', while the Cosey-vocalled, Carter-helmed 'Hot On The Heels Of Love' remains an absolute game-changing masterpiece, its influence on techno, disco and electro-pop as profound and palpable today as it ever was.
Stop listening to what you're listening to, and listen to 20 Jazz Funk Greats instead.
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Rod Modell returns to Soma with a slow-baked batch of rolling dub techno in Auratone some two years since Ultraviolet Music and reissues of myriad, related projects over the interim.
This is full fat DeepChord, swollen with bass and bristling with combustible, oxidising textures that their legion disciples will relish. Includes some sweeter highlights in the roving subs and dancing melodies of Wind In Trees and the insistent mesh of ghostly, pealing partials with pneumatic bass in Point Reyes.
“A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness.
Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.”
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Visionist returns with his combustible 2nd album, Values; an intense meditation on themes of “machismo and effeminacy, self-deprecation and self-love”. The results are blisteringly compelling and affective quite unlike muxh else in circulation, bar maybe Arca’s music.
After leaving an uncanny impression with his debut album Safe for PAN, which was his bold attempt at modelling and resolving the onset and dissipation of anxiety or panic attacks - and perhaps circumvent the safe-ness of so much other music from the UK grime and electronic scene - this time he moves forward, emboldened by that experience to ‘fess up searing emotions in a way not normally associated with grime, or even cisgendered blokes for that matter.
At this point, we’re not even sure if it is grime anymore, as he’s seemingly transcended to somewhere else entirely, dissolving its stylistic rigidity and entangling elements of classical composition, computer music and trance into bold new forms in order to better convey his feelings and art. In doing so, and by grasping thornier issues head on - albeit in abstract style - he leaves himself vulnerable to critical value systems not usually associated with the club and road paradigms of grime, and does so with admirably unflinching, steadfast conviction.
Of course, without accompanying context listeners may not be aware of all that, but context in this kind of art is important, and when held up against it, the outpouring of emotive chamber keys and megadome trance gestures in instrumental songs such as Homme and Made In Hope sorely live up the conceptual thrust, while the album’s sole (human) vocal track Your Approval channels it ambiguously thru Rolynne’s gender fluid R&B voice. Likewise, his roiling, blasted rhythms undermine grime’s rigidity - which have pretty much become pop currency, not underground and experimental like they once were - on the convulsive New Obsession and No Idols in an almost sado-masochistic manner.
Just like Safe, there’s a a density of detail and information in Value that’s going to take a while to settle in, but it ain’t hard to tell this is a viscerally thrilling, refreshing piece of work which stands out far from the field, for what it’s worth.
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Stephen O’Malley picks up the enchanted duo of Andrew Chalk and Timo Van Lujik for their immersive 12th release of shimmering chamber music as the cultishly adored Elodie. Since 2010 Elodie have stealthily charmed pretty much all who’ve crossed their path, whether on record through the Faraway Press and La Scie Dorée label, or in their achingly quiet and mesmerising live performances.
With Vieux Silence, Ideologic Organ takes the honour of issuing Elodie’s first material outside of their own labels, building on a relationship formed after they performed, alongside Jessica Kenney and Eyvind Kang, at an event in London curated by O’Malley. Naturally that night stuck in his memory, as O’Malley recounts; “Elodie's performance was among the most delicately engaging and savant I have witnessed… so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.”
Coincidentally, our first encounter with Elodie was a live performance, too (cheers, Sam!). And snow aside, it was almost exactly as O’Malley recalls, keeping us perched, rapt for the duration like nothing we’d ever heard before. Even better, their records somehow capture that quiet intensity perfectly, as you’ll hear on the beautiful example of Vieux Silence.
Accompanied by in/frequent collaborators Tom James Scott (piano), Jean-Noël Rebilly (clarinette) and Daniel Morris (steel pedal guitar), Elodie’s 12th release renders 41 minutes of their sublime music that will leave connoisseurs of quiet music agape at the telepathic levels of control and ineffable coherence in their improvisations, unfurling as a sort of oneiric, watercoloured tableaux of genteel jazz strokes, electro-acoustic spectres and chamber-like gestures.
Lovers of anything from Badalamenti soundtracks and Bohren And Der Club of Gore, to Cotton Goods or Ryuichi Sakamoto owe themselves time with Elodie, and this is great place to start.
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On Lee Gamble’s stunning first major work since Koch [2014], the rave dreamer reawakens to decode and interpret his hallucinations for Hyperdub, coming to terms with the idea of Mnestic Pressure - a confluence of individual and collective pressures on contemporary memory - in an astonishly febrile, vivid collision and projection of jungle and ambient structures.
With his move to Hyperdub following a string of modern classics for PAN, Lee Gamble has effectively reset his sound to realise a more intricate, restless matrix of ideas that seems to emulate the sound of a mind that’s too wired to sleep, rushing from an overload of inputs which it struggles to make sense of. In this case the struggle is perfectly sur/real, making the listener unsure of whether he’s awake or dreaming, or perhaps experiencing some combination of the two ostensibly opposing states of mind.
As with his previous releases, Mnestic Pressure finds Lee acting as a conduit or plugged in psychopomp, absorbing the physical and mental pressures of life in London and online, and then transmuting, firming up those feelings in an elusively abstract style that conveys the daily bombardment of the senses, and by turns the memory, in a way which the written word will never fully capture.
But in a marked departure from earlier releases, Mnestic Pressure reveals a subtle but decisive shift away from straighter 4/4 patterns towards a constant, broken flux of meters and velocities which can perhaps be heard to reflect the shift in popular perception of time as a linear sequence, to a more complex, difficult-to-grasp weave of timelines which expand and contract, sometimes folding in on themselves or short circuiting in a sort of Déjà vu or jolting hypnic jerks.
It’s really best consumed from front-to-back in order to really allow that tempestuous momentum to take hold, as it plays out like a live or DJ set in some of the more slippery passages, especially the psychoacoustic smudge between East Sedducke, 23 bay Flips and Swerva, and the deft transitions from You Hedonic’s amniotic suspension to the glancing arrhythmic ballistics of UE8, but the DJs will also find very useful parts to extract in the Rian Treanor-meets-Demdike Stare flex of Ignition Lockoff, and his absolutely deadly jungle bullet, Ghost.
For our money, it’s Lee’s most essential release since Diversions 1994-1996.
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SAICOBAB are the Japanese quartet comprised of acclaimed vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass) and acclaimed in Japan Motoyuki ‘Hama’ Hamamoto (percussion, gamelan).
"SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas.
On their debut album ‘SAB SE PURANI BAB’, YoshimiO’s leaping, animated, effected vocal melodies dance fluidly through Daikiti’s intricate sitar patterns. The entrancing synergy of Goldman and Hama’s rhythmic pulse drives and shapes the aptly named SAICOBAB’s sound to one that is at once rooted in ancient tradition and wholly new. YoshimiO has been a trendsetter as a member of OOIOO and Boredoms for over three decades. She has collaborated with Kim Gordon and Sean Lennon, has been featured on the covers of The Wire and The Fader and The Flaming Lips named an album after her.
“In the seemingly impenetrable, fantastic murkiness of Japanese experimental psych pop, more often than not,Yoshimi has been a beacon.” - FADER (cover)"
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Whoa, like: this is a kinda stunning debut album from 77 year old American photographer and legend William Eggleston, a contemporary of Andy Warhol in the ‘70s, who has been quietly recording himself for decades. ‘Music’ is nothing less than an American Dream recording..
“Native Memphian William Eggleston, 77, who is widely regarded to be the most important photographer of the late 20th Century, presents his debut record, Musik.
It was during Eggleston’s Sumner, Mississippi childhood, where he discovered the piano in the parlor that ignited in him a lifelong passion for music. It was a passion he carried forth his entire life, playing quite adeptly when a piano was handy: improvised turns on Bach, Handel, gospel, country, and popular selections from the Great American Songbook for friends and family. Though his travels found him rubbing elbows with Andy Warhol‘s Factory superstars in New York, where he lived for several years with Viva at the Chelsea Hotel, and observing a music scene in Memphis that included Big Star’s Alex Chilton, and his old friend and owner of Ardent Studios, engineer Jon Fry, his own music went largely unheard by the general public.
In the 1980’s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg OW/1 FD Pro, which had 88 piano-like keys, and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled.
Eggleston lives today in a small apartment off Memphis’ Overton Park that he shares with a 9-foot Bosendorfer grand piano and an arsenal of ultra-high fidelity audio equipment, some of which was designed by his son, William Eggleston III. The synthesizer, alas, is broken and stubbornly refuses to be repaired, so for the purpose of this project another was purchased in order to be able to play back the floppy discs, which, along with a handful of DATs and other digital media, though frail, were digitized and mastered for this and future releases.
Mr. Eggleston often says that he feels that music is his first calling, as much a part of him, at least, as his photography. We take special pride in allowing the world to hear this side of a great artist who may now be rightly called a great musician.”
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Lessons marks 10 years of the on-going experiment that is the Front & Follow record label, and their 50th official release
Bringing together artists from across the years in old guises and new inc Pye Corner Audio, Leyland Kirby, Laura Cannell, Ekoplekz, Time Attendant, Howlround and more...
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Following 16 months after Scottish artist Claire M Singer's debut album comes the release of the beautiful and intriguing 'Fairge', meaning 'the ocean' or 'the sea' in Scottish Gaelic. 'Fairge' is a single 21-minute piece for organ, cello and electronics, composed, performed and produced by Claire, it's very much a companion work to the title track on her debut album 'Solas' (Touch, 2016).
"Commissioned by Amsterdam's oldest building and parish church Oude Kerk, 'Fairge' premiered at the church in February 2017. Claire M Singer's performance on the Ahrend and Bunzema organ, cello and electronics is truly captivating. The work very much encapsulates her signature style of expansive soundscapes full of intricate textures, rich overtones and powerful swells, emotionally resonating from beginning to end.
'Fairge' was written specifically for the Ahered and Bunzema organ and explores the precise control of wind through the pipes using mechanical stop action. This creates a lush harmonic backdrop against the harmonics and melody of the haunting cello.
"Oude Kerk were very generous in letting me have time to explore and really get to know the instrument. The work was developed over many visits sitting in the church until the very wee hours over the winter months, which was incredibly magical and inspiring. When working with mechanical stops and precisely controlling the amount of air that passes through the pipes it requires a lot of practice and exploration to learn each incremental sound the organ can make and what the quirks of the instrument can be. As every organ is unique, the piece will differ on other organs but that's what makes writing and working with the organ so fascinating. The tuning is mean-tone temperament, which I have not worked with previously. With 'Fairge' I really wanted to show how special this relatively small organ is and the beautiful pallet of sound it can produce." [Claire M Singer, September 2017]
Claire is Music Director of the organ at Union Chapel and Artistic Director of the Organ Reframed festival."
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Following the Turkish collaboration of Dalmak and the more rock-inflected Lost Voices, Esmerine embarked on a soundtrack commission for the National Film Board documentary "Freelancer on the Front Line" (about independent journalism in the Middle East), which also led to a deep dive into archival and previously unreleased recordings.
Sessions for the film soundtrack provided various seeds for a new album concept and composing/recording continued rolling into early 2017, informed by anxiety over the reactionary, regressive, seemingly irresolvable disharmony of human oppression/domination and the ever-accelerating degradation / denial of nature and social justice. Stylistically, Mechanics Of Dominion took shape with mallet instruments brought more to the fore (relative to Esmerine’s previous two outings): marimba, piano and amplified music box provide a more prominent through-line on this new album's otherwise quite diverse material. Multi-instrumentalist Brian Sanderson's contributions also continue to shape Esmerine's songwriting to an ever greater extent – his stately melodic lines on horns and acoustic strings are bracing, compelling elements in the ceremonious lyricism and keening vitality of this new song cycle. And the album revisits and further develops two previously recorded and heretofore unreleased pieces (the origins of the modernist piano, string and horn piece "Northeast Kingdom" date back to some of Esmerine’s earliest recordings in the mid-2000s; the sizzling free-improv of "¡Que Se Vayan Todos!" was captured during the Dalmak sessions.)
Mechanics Of Dominion is perhaps Esmerine's most dynamic and narratively-driven work, tracing an arc through Neo/Post--Classical, Minimalism, Modern Contemporary, Folk, Jazz, Baroque and Rock idioms to paint a soundtrack of lamentation, meditation, resolve, resistance and hope. It is Esmerine’s humble requiem for our intractably suffering planet and a paean to the inscrutable, essential dignity of indigenous ethics and the natural world. Mechanics Of Dominion is also another superlative example of Esmerine's acclaimed and award-winning dedication to album artwork and packaging, this time featuring the work of Montreal artist Jean-Sebastien Denis in beautiful resonance with the album's balance of stylistic tensions and emotional colourations."
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Introducing Icelandic composer and singer Högni, better known as the front man of indie rock band Hjaltalín and previous member of electronic group GusGus, as the newest addition to Erased Tapes with his solo debut album Two Trains.
"Amidst destruction on the mainland, the two locomotives Minør and Pionér transported wagons full of rock and gravel to the Icelandic seaside during the construction of the Reykjavík harbour in 1913-1917. The two metallic giants ushered in a new age in Iceland. However, soon after construction ceased the two trains were parked and have never driven since. Now they only serve to remind us of the grandeur of a bygone future. They are the only trains ever to have graced the Icelandic landscape.
The music in Two Trains embraces the spirit of the original European avant-garde and invokes these concepts in its chugging rhythms, metallic clangs and brooding choral arrangements (men's choruses are a distinctly Icelandic phenomena related to the national/romantic politics of the 19th and 20th century) while the lyrics speak of ominous clouds on the war-ridden eastern horizon and freight cars filled with gravel and dreams."
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Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians.
"The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter’s illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.
Anthology is a near-comprehensive survey of John Carpenter’s greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998’s supernatu¬ral Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween’s iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone’s bleak, minimalist theme for The Thing.
We also get vital new recordings of the themes to ’80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.In the weeks following Anthology’s October 20 release, Carpenter will return to the road, playing both classic movie themes and material from his two Lost Themes albums. The performances will once again affirm the power of the Hor¬ror Master’s brilliant work as a composer and musician, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema."
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Kerri Chandler conducts a deeply soulful psychogeographic tour of NYC and the lesser-heard folds of his mind for his DJ-Kicks instalment
Weaving debonaire between personal picks of soul, jazz, hip hop, boogie and disco, including, as standard, one of his own productions in the laid-back dub reggae of Stop Wasting My Time.
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Sugai Ken follows in the vein of RVNG Intl’s Visible Cloaks release with an exquisite meditation on traditional Japanese percussion and 4th world electronics ruptured by unpredictable runs into more abstract terrain. RIYL YMO/Haruomi Hosono, Visible Cloaks, Foodman...
UkabazUmorezU works like a stage set or a variegated series of sonic scenarios, at once smartly demonstrating his compositional versatility as well as a dilated vision of the connections between Japanese tradition and western-rooted electro-acoustic practice. In a way it resonates with Visible Cloaks’ perspective on Japanese electronics as much as Foodman’s dextrous mutations of Chicago footwork, but still it’s weirder and more enigmatic than either of them.
In his own words, UkabazUmorezU is intended to reflect a “style that conjures [the] subtle and profound ambience of night in Japan.” Arguably, for someone who has never visited or experienced night in Japan (us), it does so as richly as a Murakami novel, sensitively using electronic instruments and process to emulate and evoke an intimate sense of the spiritual, supernatural recalling the effect of, say, Kenji Kawai’s Ghost In The Shell OST, but again, with a more elusive, amorphous and playful quality of his own.
Ultimately it’s a beautifully and subtly suggestive album, skillfully making use of pregnant lacnuæ and negative space, but also riddled with flighty melodic figures, and prone to wonderfully disorienting jump-cuts that ping us from serene garden and temple scenes to stranger, bestial ginnels of the Japanese mindset with an effortless sleight-of-hand.
Tip!
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Hayley Fohr tends to her Circuit Des Yeux alias after last year’s country excursion as Jackie Lynn, returning to relay a compelling tale about a pivotal, existential awakening she experienced in early 2016, all delivered via her signature vocal - somewhere between Nico, Diamanda Galas and Scott Walker - against a varied topography of brooding brass, stirring folk strings, arpeggiated keys and synths, and intermittent rocking squalls.
Reaching For Indigo is arguably set to become a modern classic in the same vein as her In Plain Speech [2015, Thrill Jockey] record, mostly thanks to a number of standout songs such as the plaintive power of Brainshift and Black Fly at its prow, and the natural, dreamlike possession of her swelling Geyser beauty and the free-floating kosmiche elegy, Falling Blonde.
It takes some sort of special virtue to make an indie-folk record that doesn’t sound super cliché nowadays, and evidently Circuit Des Yeux has it in abundance.
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Music From Memory follow up the enchanting Suso Sáiz retrospective Odisea with a far more recent survey of the Spanish ambient and new age pioneer’s contemporary output, Rainworks; spanning wistful ambient vignettes to mind-engulfing drone, brittle concrète and drifting solo piano studies commissioned and written in 2016.
Highly regarded for his work with Orquesta De Las Nubes and Música Esporádica for Grabaciones Accidentales (home to Finis Africae, Luids Delgado, Randomize) in the early-mid ‘80s, Sáiz has followed that path ever since, resulting collaborations with Steve Roach and dozens more releases over the interim.
Rainworks finds him still feeling out a sublime, etheric otherness, bringing to life a series of atmospheric pressure systems with a deft, elemental touch in key with the original commission from Hidraulica, Tenerife (Canary Islands), gradually expanding and contracting in ambition from the opening arabesque to the abstract yet richly evocative tract of A Rainy Afternoon at the album’s perimeter.
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Geoff Barrow and Ben Salisbury return to score Ben Wheatley’s 1970s based epic shoot-out ‘Free Fire’, executively produced by Martin Scorsese.
"Compiled by director Ben Wheatley himself, the soundtrack will be released on CD and double LP, featuring the full score by Geoff Barrow and Ben Salisbury, dialogue from the film and licensed tracks (The Real Kids, Creedence Clearwater Revival, John Denver).
‘Free Fire’ sees Barrow and Salisbury take a huge directional curve away from their intense, synth-based Ivor Novello award winning score for ‘Ex Machina’, with the composers curating a prog rock, free jazz, psychedelic journey influenced by bands such as King Crimson, Camel and Magma and tips its hat to the Lalo Schifrin thriller genre scores of that era."
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Domino Soundtracks are proud to present their first release, an original soundtrack recording from Dan Deacon of the provocative essay-film ‘Rat Film’.
"‘Rat Film’ marks Deacon’s first full record devoted to modern composition. In between his four ecstatic flexedthe 21st Century classical muscles he first developed studying at SUNY Purchase’s Conservatory Of Music.
‘Rat Film’ offers the first recorded document of this parallel career - and both as a self-contained album and a companion piece to an equally potent film, it astounds."
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San Fran’s Dark Entries and Honey Soundsystem double down to release a final set of Patrick Cowley’s gay porn soundtracks in Afternooners. Not so much Hi-NRG as happily knackered and in need of a ‘bine, the vibe is mostly dreamy, mid-tempo and strutting but with a few early hours disco struts in Jungle Orchids, the kinky throb of take A Little Trip, and a charming romance theme on Love Come Set Me Free with its signature, flared synth that sounds like a prototype of Drexciya and so much electro-disco to come.
“In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album “Mind Warp”. All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops.
This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley’s unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.”
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Written and performed by Yasunao Tone. Recorded at ISSUE Project Room, Brooklyn, June 9th, 2016 by Bob Bellerue Mix and mastered by Russell Haswell. Photo by Cameron Kelley. Layout by Stephen O’Malley.
"I have had an idea if I apply the neural network to create my sound work for long time. When I had a performance at Centre Pompidou with Peter Rehberg and other friends I tried to talk about the idea with a French guy from IRCAM. But, he couldn’t understand my idea, which by using neural network the sound I create would never have any repetitions. That was 2002 and I had to wait until 2015 when I had a grant from New York State Council on the Arts through Issue Project Room, then its director Lawrence Kumpf applied for my new work. The grant finally made possible for making my cherished idea, the neural network piece, reality. I had talked about the idea with Prof. Tony Myatt at Surrey University, UK and he developed the software for the piece with a team included Dr. Paul Modler. At the lab in the University a series of my performances of my MP3 Deviation were captured and used to train Kohonen Neural Networks to develop artificial intelligences that simulate my performances. Hence a birth of new piece AI Deviations. I had a premiere at Issue Project Room on June 9th 2016 and the venue was more than packed and here is the performance of the piece." (Yasunao Tone)
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Première release of a pivotal piece by important American composer, Julius Eastman.
After more than 40 years, Julius Eastman’s Femenine - a euphoric, colourful, and inventive work by the brilliant but criminally overlooked composer with the S.E.M. Ensemble - finally sees the light of day thanks to Finland’s Frozen Reeds, bringing to life a wondrous iteration of the highly fertile 1970s north american minimalist/modern classical nexus for a whole new generation of ears.
Notable not least as the only known recording of Femenine, recorded live in 1974 at Composers Forum in Albany, New York - which makes it only the 2nd CD with Eastman’s name at the top - this release also documents the composer on piano (whilst wearing a dress, as it goes) and features his unique innovation, a set of mechanised sleigh bells, rattling throughout the 72 minute performance, which, in a way, neatly characterises the artist’s wide-open, pioneering idiosyncrasies and dichotomies for anyone new to his work.
Un/fortunately, depending your perspective, far too many folk will be new to his work or even unaware of Eastman’s involvement in some true totems of the time; whether that’s as lead vocalist on Peter Maxwell Davies’ Eight Songs For A Mad King (1971), playing keys on Dinosaur L’s disco-not-disco classic 24→24 Music (1981), or conducting Arthur Russell’s Tower of Meaning (1983). And we say too many folk, because, all considered, until quite recently, Eastman has been long overdue the shine afforded to many of his peers and contemporaries.
As a Gay, Afro-American new music composer, pianist and vocalist in the ‘70s, Eastman’s work was innately politicised and exceptional by the nature of its provenance, not to mention the music itself, which pulled from his personal history as much as wider social movements to represent a uniquely fluid perspective on minimalist music’s rigid process and presentation right up to his untimely death, aged 50 in 1990.
With that in mind, Feminine stands at a crossroads between Eastman’s earlier chamber work Stay On It, and later pieces such as his iconic, majestic Evil Nigger and the ambiguous flux of emotions in Gay Guerilla; sounding quite unlike any of them thanks to its sense of communal joy (there were somewhere between 12 and 15 players) and the polymetric meter of his mechanised sleigh bells, coupled with a display of massed, pitching tonal colour that moves with the kind of deliquescent, flighty optimism that’s hard not to be wowed by.
Ultimately, it genuinely lives up to the mantle of “new music” and presents its ideas in a deeply refreshing, insistent, yet never-cloying manner.
A huge recommendation.
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Fred P finds his jazziest techno-house headspace in a sequential partner piece for Mule Musiq.
As night follows day, 6 follows 5 (2015) with an expansion of its conscientious aims - “6 represents the number of man and his or limitations, weakness and imperfections. This body of work examines and looks towards one awakening. Adapting to a new way of being creating an alternative and raping a higher state of mind and being. Enhanced by love and serenity, satisfaction and joy. 5 presented the possibility of manifestation 6 is the manifestation taking place. The journey continues…”
Take that breeze with a pinch of salt, but take these tunes to ‘floor for some proper vibes, from the frictional minimalism of Awakening Co Creator to what sound like Mike Parker gone jazzy in Learning Process, to the sublime deep garage hustle of Reap Love and the broken, free-floating swing structures of Alternate Reality.
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Archie Marshall aka King Krule oscillates between channeling strung out jazz crooners and mucky denim wearing rockabillies on a long-come follow-up to his 2013 debut.
“One of the most celebrated figureheads on the independent British scene, Archy Marshall returns with the dense, sprawling “The OOZ”, the much anticipated follow up to his debut “Six Feet Beneath the Moon”. Drifting and seeping through the cracks of South London like the album title, King Krule casts an unflinching eye over his kingdom, transforming his observations of all the disorientation and heartbreak of his youth into piercing narratives and poetry that are both startlingly honest and brutally beautiful. With “The OOZ”, Marshall finally takes the crown as poet laureate for the dazed and confused generation, painting a bleak and sometimes harrowing picture of a rapidly splintering city.
“The OOZ” is released October 13th on XL Recordings, preceded by the raucous new single “Dum Surfer” as well as a brilliant Brother Willis directed video. This autumn also sees Marshall hitting the road for a worldwide tour this autumn
Where “Six Feet Beneath the Moon”, released in 2013, was a rigorous, rambling excavation of Marshall’s expansive body of work to date, “The OOZ” snaps into focus quickly and sharply, his modus operandi coming into view almost immediately. Over jazzy curlicues and guitars, the opener “Biscuit Town” sets out its stall irresistibly as Marshall sings about rapidly disintegrating romance and personal dissolution with acute, almost painful detail. These wrenching themes of self-annihilation and fraying relationships seem inextricably linked in Marshall’s eyes – once you lose yourself to someone else, you inevitably wind up losing yourself completely when they leave – and recur in other tracks. “Why’d you leave me? Because of my depression? You used to complete me but I guess I learnt a lesson” he spits on the roiling “Midnight 01 (Deep Sea Diver)”, and, even layered with the warm vocals of Okay Kaya, “Slush Puppy” is an unsparing dissection of a couple with nothing left to give, like a Gainsbourg and Birkin ballad gone toxic. Elsewhere, things only get darker, as Marshall desperately tries to find safe harbor in the city he knows and loves, only to be thwarted constantly, as on “The Cadet Leaps” and first single “Czech One”. Not even the synthetic high of chemicals, as shown in “Emergency Blimp” and “A Slide In (New Drugs)”, can stanch the suffering.
Although seeming at first abstract, “The OOZ” as a title proves oddly fitting. There are references littered throughout about its physical manifestation, or as Marshall himself says, “about earwax and snot and bodily fluids and skin and stuff that just comes out of you on a day to day basis”. But it works on a more figurative level too, with the OOZ also representing the unknown depths or horizons the solitary mind can travel to, whether it’s sinking into the deep sea or soaring through the night sky. It may be messy, unwieldy, even unsightly, Marshall seems to say - but we need The OOZ in order to exist.”
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By the 1970s Studio One and Clement ‘Sir Coxsone’ Dodd had already proved himself to be the defining force in Reggae for almost two decades. From running the Downbeat sound system on the lawns and yards of Kingston in the late 1950s to opening Studio One at 13 Brentford Road at the start of the 1960s, ushering in ska and rocksteady and establishing the careers of most of Jamaica’s artists - everyone from Bob Marley and The Wailers, Ken Boothe, Toots and The Maytals, The Skatalites, Jackie Mittoo and more - Clement Dodd had until this point dominated the Jamaican musical world.
"And yet, incredibly, Clement Dodd was barely halfway through his musical path, maintaining Studio One’s number one position in the Jamaican music scene throughout the 1970s with a combination of musical and creative innovation and an endless capacity to adapt and create new musical fashions. By the end of the 1970s dancehall had become the defining sound on the island. Dancehall was essentially a tribute by other Jamaican producers and artists to the classic music of Studio One created in the 1960s as young artists across the island created new songs, while musicians recreated these original classic foundation Studio One rhythms. As on other occasions, Clement Dodd rose to this new musical challenge by producing a whole new era of classics for Studio One.
The roots of dancehall begin with the DJs of the early 1970s, who were the first to sing new material over earlier classic rhythms. Early DJ pioneers such as Dillinger and Prince Jazzbo both feature here toasting over classic songs - The Mad Lad’s ‘Ten To One’ and The Eternals’ ‘Queen Of The Minstrel’ - but it is the new wave of artists who arrived at Studio One at the onset of dancehall which enabled Studio One to maintain its number one status as the whole of Kingston’s rival music producers - Channel One, Joe Gibbs and many others - attempted to challenge this position.
Sugar Minott, Michigan and Smiley, Willie Williams and Lone Ranger had all grown up listening to the classic Studio One music of the 1960s and were able to pay the greatest compliment to the label by creating the defining new music of this new era with songs that combined all the musical and technological developments of the 1970s - dub, deejaying, discomixes, syndrums, synthesizers and more - into the sound of the future: dancehall.
Throughout this era Clement Dodd also continued to work with a number of original and returning artists, such as Alton Ellis, Horace Andy, Freddie McGregor and Johnny Osbourne, updating old rhythms and creating new ones while employing the in-house band variously known as The Brentford All-Stars / Rockers / Disco Set to update these sounds in order to maintain Studio One’s number one position as the defining force in reggae."
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Paul Woolford presents the definitive Special Request opus with Belief System, a brobdingnagian reflection upon his early years raving in Leeds, using samples from tapes dating back to 1993, diffracted thru the prism of up-to-date production aesthetics to visceral effect.
It’s pretty much the last word in Special Request’s coming-to-terms with nostalgia for the golden days of hardcore, jungle, rave, looking back to a time of rapid stylistic mutation and innovation from the relative safety of rose-tinted 2017 filters.
Rather than reviving the rabid energy and naive invention of rave proper, however, Woolford spends the first half of the album turning his sample pack into a UK Breaks and wonky techno set full of line-dancing grooves and electronica, before sparking off some breaks on pretty much the same base rhythm with the big room styles of Make It Real and the Amen Andrews-esque Brainstorm.
To be fair, the ruffneck Leviathan fares better with its boisterous tech-step barrage, and Replicant (Nexus 7 VIP) nearly grasps the nuttiness of hardcore proper, but the finale of Light In The Darkest Hour is a hybrid of Chicane and DJ Trace that never needed to happen, and people probably would have laughed off in the late ‘90s.
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Debut album from Andrew Hung, also known as one have of Fuck Buttons.
"As co-founder of Fuck Buttons, he has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman, been featured on the 2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's "Shackles Gift" and co-writing/co-producing the critically acclaimed "Kidsticks" by Beth Orton. He soundtracked the multiple-award winning film "The Greasy Strangler". Realisationship is the continuing voyage through Hung's previous collaborations. Written, performed, produced and mixed entirely by Hung; the album is pure expression. In a world that seems more disconnected than ever, Hung sees this as an opportunity to highlight the duality of humanity. The music of Realisationship is both fragile and powerful, a celebration of nuance; we are light and shade, good and evil, love and fear. A hammer to expectations as an expression of hope."
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This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff's label, Pomperipossa.
"Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the 'bing bong' of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle ("Start!") has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus 'no' becomes a powerful rejection, rather than merely an inclination; and no-ers are more easily to spot… "You're going the wrong way"! (To which the only sensitive and mature response is: "Indeed!")
Organic and man-made call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You've lost!". A dynamic and involving result ensures a challenging but no less enjoyable listen.
The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': "I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime."
The Quietus wrote: "Last year's distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures."
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Payment Security

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Additionally, we do not store any card details at all, all
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Estimated Shipping Dates

Estimated shipping dates are accurate to the best of our
knowledge, based on the latest stock information made available
to us from the supplier. Available items should ship to you within
the time-frame indicated. If there are any unforeseen issues with
availability we will notify you immediately.

Shipping FAQs

Free Shipping: We offer free postage on orders over
£50.00 to the UK sent via Royal Mail.*

*To qualify for free postage the order must be sent as one package.
Therefore, all items must be in stock or you should be happy to wait
until all items become available to ship so they can be sent as one
package. Downloads and Gift Vouchers do not count towards free
shipping. Please note that Pre-Orders do not count towards free
shipping as their release dates are liable to fluctuate.

Stock Status

If your order contains items that have different estimated
shipping dates (for example, ‘available to pre-order’, ‘in stock’,
‘available to ship in 1-3 days’) you will be given an option either
to wait for everything to become available to ship in one package,
or to ship each item as soon as it becomes available. Stock arrives
at the office throughout the day so the stock status of items on the
website can change several times a day.

Important Note: all items that are not currently displaying as
In Stock need to be ordered in from our suppliers and the estimated
shipping dates are only an indication of when we expect those items
to come into stock. If there are any unforeseen issues with
availability we will notify you immediately.

Premium Packaging

At checkout you are able to select a premium packaging option
for a fee of £1.50. We pack all of our orders using appropriate
packaging, however when you pick this option we use a wider
cruciform offering additional protection if you have a
particularly heavy-handed postman.

UK and International Shipping Options

We offer two services:

1. First Class Royal Mail - for UK and for International
orders: The package will be delivered by your national postal service.

Royal Mail sets limits on the weight of packages, so if the order
becomes too heavy to ship in one package the order will be split
into two or more packages. The packages will be marked accordingly,
for example, if an order has to be sent over two packages the packages
would be labelled ‘1 of 2’ and ‘2 of 2’.

2. Parcelforce tracked courier service:

This comprises a flat box fee for UK (and some European countries),
and a sliding scale based on weight for other countries. Parcelforce
is a Monday - Friday service. Packages sent via Parcelforce can be
tracked here:
http://www.parcelforce.com/track-trace

Parcelforce can only ship to PO boxes in certain countries,
details can be found once you have made your country selection
at checkout.

Once you have added items to your crate you can select your
country and choose either to send everything in one package or
to ship as soon as the items become available. At this point the
total given is a guide to the cost and more shipping configurations
are available once you have logged in and proceeded to checkout.
At the checkout you will still be able to add or take away items
from the crate and change/compare your shipping options.

Pre-orders are treated as separate packages to items that are
either in stock or available to order. If pre-orders share the
same release date then they can be ordered and shipped together.
However pre-order release dates are liable to change, if you have
ordered two pre-orders with the same date to ship together and
then one release date gets pushed back, we will ship the available
pre-order straight away and the second pre-order as soon as it
becomes available with no extra shipping charge.

If you choose to ship your order across more than one package you
can select the Royal Mail service for one package and Parcelforce
courier for the other.

Exceptions:

* if an individual item weighs more than 2kg and you are outside
of the UK the package must be sent via courier as Royal Mail sets
a 2kg limit on packages.

* Royal Mail covers postage all countries, however Parcelforce is
not available in every country.

Missing Packages

If an order does not arrive, we can issue a replacement package.
In the UK we consider a package to be missing after 15 working
days. Most international orders are considered missing after 25
working days with the exception of France, South America and Africa
- packages to these destinations are considered missing after 60
working days. Before we can issue a replacement, customers must
have checked with their local depot/sorting office to see if their
package is awaiting pick up. If we think there is an issue with
the shipping address, or that packages are being stolen in the
post, we reserve the right to refuse future orders to these
addresses.

Insurance

We automatically add an insurance supplement to orders over £30.
Orders between £30 - £49.99 are charged a 60p insurance supplement.
Orders over £50 are charged a £3 insurance supplement.

Returned Packages

If a package is returned to us because of an incomplete address,
or because it was not collected from a local depot, we will have to
charge you again in order to re-send it. We will get in touch with
you before any package is re-sent.

Delivery Times

The delivery times below are estimates. A lot depends on the
efficiency of your local post service.

Royal Mail:

UK (inc. Northern Ireland): 1 - 2 working days
Western Europe: 3 - 5 working days
Eastern Europe: 5 - 12 working days
Rest of World: 5 - 10 working days

Courier:

UK (inc. Northern Ireland): 1 working day except for highlands
of Scotland and parts of Scotland, please get in touch for
further information.

Western Europe: 2-3 working days for most countries but takes
longer shipping to Finland, Greece, Italy, Norway, Portugal and Sweden.

Eastern Europe: 3-6 working days for most countries but can take up
to 7 days for other countries, please get in touch for further
information.

Rest of World: 2-7 working days for most countries, please get in
touch for further information

Please note shipping times can vary within a country depending
on the area - for further information please get in touch.

Please note that the estimated shipping times above can be
affected by circumstances beyond our control such as bad
weather, delays at customs, busy times of year etc.

Contact Us

If you require further information or assistance then
please contact us.

Stock Status

Physical Products have different types of stock availability, for example:

In Stock (Ready to ship)
Pre-Order with estimated shipping dates
Available to Order (Estimated shipping between 1-3 working days)
Available to Order (Estimated shipping between 3-7 working days)
Available to Order (Estimated shipping between 7-14 working days)

If your order contains items that have different estimated shipping
dates you will be given an option either to wait for everything to
become available to ship in one package, or to ship each item as soon
as it becomes available. Stock arrives at the office throughout the
day so the stock status of items on the website can change several
times a day.

Important Note: all items that are not currently displaying as In Stock
need to be ordered in from our suppliers and the estimated shipping
dates are only an indication of when we expect those items to come
into stock. If there are any unforeseen issues with availability we
will notify you immediately.

Insurance

Premium Packaging

At checkout you are able to select a
premium packaging
option for a fee of £1.50. We pack all of our orders
using appropriate packaging, however when you pick this
option we use a wider cruciform offering additional
protection if you have a particularly heavy-handed postman.

CVV code

Terms & Conditions

TERMS & CONDITIONS OF WEBSITE USE AND SUPPLY

PLEASE READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS SITE

TERMS OF WEBSITE USE

This terms of use (together with the documents referred to in it) tells you the terms of use on which you may make use of our website http://boomkat.com/ (our site), whether as a guest or a registered user. Use of our site includes but is not limited to accessing, browsing , purchasing from or registering to use our site.

Please read these terms of use carefully before you start to use our site, as these will apply to your use of our site. We recommend that you print a copy of this for future reference.

By using our site, you confirm that you accept these terms of use and that you agree to comply with them.

If you do not agree to these terms of use, please do not use our site.

OTHER APPLICABLE TERMS

These terms of use refer to the following additional terms, which also apply to your use of our site:

Our Privacy Policy (www.boomkat.com/privacy), which sets out the terms on which we process any personal data we collect from you, or that you provide to us. By using our site, you consent to such processing and you warrant that all data provided by you is accurate.

Our Cookie Policy (www.boomkat.com/privacy) which sets out information about the use of cookies on our site.

If you purchase goods or non-physical copies of recordings from our site, our Terms and Conditions of Supply (see below) will apply to the sales.

INFORMATION ABOUT US

Boomkat.com is a site operated by Boomkat Limited ("We", “Us”, “Our”). We are registered in England and Wales under company number 5725006. Both our registered office address and trading address is at 2nd Floor Swan Building, 20 Swan Street, Manchester, M4 5JM. Our VAT number is GB 693 0821 25, and for Boomkat Digital Limited is GB 884 6350 90

We are a limited company.

CHANGES TO THESE TERMS

We may revise these terms of use at any time by amending this page.

Please check this page from time to time to take notice of any changes we made, as they are binding on you.

CHANGES TO OUR SITE

We may update our site from time to time, and may change the content at any time. However, please note that any of the content on our site may be out of date at any given time, and we are under no obligation to update it.

We do not guarantee that our site, or any content on it, will be free from errors or omissions.

ACCESSING OUR SITE

Our site is made available free of charge.

We do not guarantee that our site, or any content on it, will always be available or be uninterrupted.

Access to our site is permitted on a temporary basis. We may suspend, withdraw, discontinue or change all or any part of our site without notice. We will not be liable to you if for any reason our site is unavailable at any time or for any period.

You are responsible for making all arrangements necessary for you to have access to our site.

You are also responsible for ensuring that all persons who access our site through your internet connection are aware of these terms of use and other applicable terms and conditions, and that they comply with them.

REGISTRATION

When purchasing goods from Us or using the Service which is provided by Boomkat Digital Limited (“Digital”) you will be given the option to register by providing us with certain information including a member (user) name, a password and a valid email address ("Registration Data"). If you take up this option you agree to provide accurate Registration Data and to update your Registration Data as necessary to keep it accurate. We and Digital will keep and use your Registration Data in accordance with our Privacy Policy (www.boomkat.com/privacy) which forms part of these Conditions. You agree that you will not allow others to use your username, password and/or account and you are solely responsible for maintaining the confidentiality and security of your account. You agree to notify Us at contact@boomkat.com immediately of any unauthorised use of your password and/or account. Neither Us nor Digital shall be responsible for any losses arising out of the unauthorised use of your Registration Data and/or account and you agree to indemnify and hold harmless Us, Digital, their officers, partners, parents, subsidiaries, agents, affiliates and/or licensors, as applicable, for any improper, unauthorised or illegal uses of the same.

We have the right to disable any user identification code or password, whether chosen by you or allocated by us, at any time, if in our reasonable opinion you have failed to comply with any of the provisions of these terms of use.

INTELLECTUAL PROPERTY RIGHTS

We are the owner or the licensee of all intellectual property rights in our site, and in the material published on it (with the exception of those relating to the Service which are the property of Digital). Those works are protected by copyright laws and treaties around the world. All such rights are reserved.

You may print off one copy, and may download extracts, of any page(s) from our site for your personal use and you may draw the attention of others within your organisation to content posted on our site.

You must not modify the paper or digital copies of any materials you have printed off or downloaded in any way, and you must not use any illustrations, photographs, video or audio sequences or any graphics separately from any accompanying text.

Our status (and that of any identified contributors) as the authors of content on our site must always be acknowledged.

You must not use any part of the content on our site for commercial purposes without obtaining a licence to do so from us or our licensors.

If you print off, copy or download any part of our site in breach of these terms of use, your right to use our site will cease immediately and you must, at our option, return or destroy any copies of the materials you have made.

The Service may be protected under patent law and may be the subject of issued patents and/or pending patent applications.

Non-physical copies of recordings may not be reproduced, duplicated, copied, sold, broadcast, downloaded, transmitted, adapted or otherwise exploited for any commercial purpose without the express prior written consent of Digital.

NO RELIANCE ON INFORMATION

The content on our site is provided for general information only. It is not intended to amount to advice on which you should rely. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.

Although we make reasonable efforts to update the information on our site, we make no representations, warranties or guarantees, whether express or implied, that the content on our site is accurate, complete or up-to-date.

LIMITATION OF OUR LIABILITY

Nothing in these terms of use excludes or limits our liability for death or personal injury arising from our negligence, or our fraud or fraudulent misrepresentation, or any other liability that cannot be excluded or limited by English law.

To the extent permitted by law, we exclude all conditions, warranties, representations or other terms which may apply to our site or any content on it, whether express or implied.

We will not be liable to any user for any loss or damage, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, even if foreseeable, arising under or in connection with:

use of, or inability to use, our site; or

use of or reliance on any content displayed on our site.

If you are a business user, please note that in particular, we will not be liable for:

loss of profits, sales, business, or revenue;

business interruption;

loss of anticipated savings;

loss of business opportunity, goodwill or reputation; or

any indirect or consequential loss or damage.

If you are a consumer user, please note that we only provide our site for domestic and private use. You agree not to use our site for any commercial or business purposes, and we have no liability to you for any loss of profit, loss of business, business interruption, or loss of business opportunity.

We will not be liable for any loss or damage caused by a virus, distributed denial-of-service attack, or other technologically harmful material that may infect your computer equipment, computer programs, data or other proprietary material due to your use of our site or to your downloading of any content on it, or on any website linked to it.

Different limitations and exclusions of liability will apply to liability arising as a result of the supply of any goods by use to you, which will be set out in our Terms and Conditions of Supply (set out below).
VIRUSES

We do not guarantee that our site will be secure or free from bugs or viruses.

You are responsible for configuring your information technology, computer programmes and platform in order to access our site. You should use your own virus protection software.

You must not misuse our site by knowingly introducing viruses, trojans, worms, logic bombs or other material which is malicious or technologically harmful. You must not attempt to gain unauthorised access to our site, the server on which our site is stored or any server, computer or database connected to our site. You must not attack our site via a denial-of-service attack or a distributed denial-of service attack. By breaching this provision, you would commit a criminal offence under the Computer Misuse Act 1990. We will report any such breach to the relevant law enforcement authorities and we will co-operate with those authorities by disclosing your identity to them. In the event of such a breach, your right to use our site will cease immediately.

If you wish to make any use of content on our site other than that set out above, please contact us at contact@boomkat.com

THIRD PARTY LINKS AND RESOURCES IN OUR SITE

Our site may present links to third party websites not owned or operated by Us or Digital. These links are provided for your information only.

Neither We nor Digital are responsible for the availability of these sites or their contents. We have no control over the contents of those sites or resources and You agree that neither We nor Digital are responsible nor liable, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with your use of or reliance on any content of any such site or goods or services available through any such site.

TRADE MARKS

"BOOMKAT" is a Community Trade Mark

CONTACT US

To contact us, please email contact@boomkat.com

TERMS AND CONDITIONS OF SUPPLY

1. ACCEPTANCE OF TERMS AND CONDITIONS

By placing an order on our site you accept these terms and conditions ("the Conditions").

Each of Us and Digital (as the case may be) reserve the right to make changes to the Conditions relevant to them at any time and you will be subject to the relevant Conditions as published on the Website at the time you place your order.

For the avoidance of doubt in respect of Digital the Conditions applicable below constitute a legal contract between you and Digital governing your use of Digital's online music download sales service ("the Service”).

PROVISIONS APPLICABLE TO SALES OF PHYSICAL GOODS BY US

2. CONTRACT

2.1 Our shopping pages will guide you through the steps you need to take to place an order with us. Our order process allows you to check and amend any errors before submitting your order to us. Please take the time to read and check your order at each page of the order process.

2.2 After you place an order, you will receive an e-mail from us acknowledging that we have received your order. However, please note that this does not mean that your order has been accepted. Our acceptance of your order will take place as described in clause 2.3

2.3 We will confirm our acceptance to you by sending you an e-mail [that confirms that the goods you have ordered (“the Goods”) have been dispatched. The Contract between us will only be formed when we send you the Dispatch Confirmation.

2.4 If we are unable to supply you with the Goods, for example because the Goods are not in stock or no longer available or because we cannot meet your requested delivery date or because of an error in the price on our site as referred to in clause 3, we will inform you of this by e-mail and we will not process your order. If you have already paid for the Goods, we will refund you the full amount including any delivery costs charged as soon as possible.

3. PRICING & DELIVERY CHARGES

3.1 The prices of goods will be as quoted on our site at the time you submit your order. We use our best efforts to ensure that the prices of goods are correct at the time when the relevant information was entered onto the system. However please see clause 3.5 for what happens if we discover an error in the price of goods.

3.2 Prices for our goods may change from time to time, but changes will not affect any order you have already placed.

3.3 The price of goods includes VAT (where applicable) at the applicable current rate chargeable in the UK for the time being.

3.4 The price of goods does not include delivery charges. Our delivery charges are as advised to you during the check-out process, before you confirm your order. To check relevant delivery charges and options please add items to your crate, choose the shipping destination and delivery service you would like to use and a shipping cost will be displayed.

3.5 Our site contains a large number of goods. It is always possible that, despite our best efforts, some of the goods on our site may be incorrectly priced. If we discover an error in the price of the Goods we will contact you to inform you of this error and we will give you the option of continuing to purchase the Goods at the correct price or cancelling your order. We will not process your order until we have your instructions. If we are unable to contact you using the contact details you provided during the order process, we will treat the order as cancelled and notify you in writing. Please note that if the pricing error is obvious and unmistakeable and could have reasonably been recognised by you as a mispricing, we do not have to provide the Goods to you at the incorrect (lower) price.

4. AVAILABILITY

All orders are subject to availability.

5. YOUR RIGHT TO CANCEL THE CONTRACT

5.1 You may cancel your contract with us for goods you order at any time up to the end of the seventh working day from the date you receive the ordered goods. You do not need to give us any reason for cancelling your contract nor will you have to pay any penalty.

5.2 You cannot cancel your contract if the goods you have ordered are newspapers or magazines or if you have taken any audio or video recording or computer software out of the sealed package in which it was delivered to you

5.3 To cancel your contract you must notify us in writing

5.4 If you have received the goods before you cancel your contract then unless, under clause 5.2 you do not have a right to cancel, you must send the goods back to our contact address at your own cost and risk.

5.5 If you cancel your contract but we have already processed the goods for delivery you must not unpack the goods when they are received by you and you must send the goods back to us at our contact address at your own cost and risk as soon as possible.

5.6 On receipt of the returned goods we will refund you the amount charged for the goods in question (excluding delivery charges) within 30 days

6. OUR RIGHT TO CANCEL THE CONTRACT

6.1 We reserve the right to cancel the contract between us if:

6.1.1 we have insufficient stock to deliver the goods you have ordered

6.1.2 we do not deliver to your area; Or

6.1.3 one or more of the goods you ordered was listed at an incorrect price due to a typographical error or an error in the pricing information received by us from our suppliers

6.2 If we cancel your contract we will notify you by email and will credit to your account any sum deducted by us from your credit card or paypal as soon as possible but in any event within 30 days of your order. We will not be obliged to offer any additional compensation for disappointment suffered.

7 DELIVERY OF GOODS TO YOU

7.1 We will deliver the goods ordered by you to the address you give us for delivery at the time you make your order.

7.2 Delivery will be made as soon as possible after your order is accepted

7.3 You will become the owner of the goods you have ordered when they have been delivered to you. Once goods have been delivered to you they will be held at your own risk and we will not be liable for their loss or destruction.

8. LIABILITY

8.1 If the goods we deliver are not what you ordered or are damaged or defective or the delivery is of an incorrect quantity, we shall have no liability to you unless you notify us in writing at our contact address of the problem within 10 working days of the delivery of the goods in question.

8.2 If you do not receive the goods ordered within 30 days of the date of the Dispatch Confirmation we shall have no liability to you unless you notify us in writing at our contact address. Please do this within 2 weeks after this 30 day period expires.

8.3 If you notify a problem to us under clauses 8.1 or 8.2 above, our only obligation will be, at your option:

1. to make good any shortage or non-delivery;

2. to replace or repair any goods that are damaged or defective; or

3. to refund to you the amount paid by you for the goods in question in whatever way we choose.

8.4 Save as precluded by law, we will not be liable to you for any indirect or consequential loss, damage or expenses (including loss of profits, business or goodwill) howsoever arising out of any problem you notify to us under this condition and we shall have no liability to pay any money to you by way of compensation other than to refund to you the amount paid by you for the goods in question under clause 8.3.3 above.

8.5 You must observe and comply with all applicable regulations and legislation, including obtaining all necessary customs, import or other permits to purchase goods from our site. The importation or exportation of certain of our goods to you may be prohibited by certain national laws. We make no representation and accept no liability in respect of the export or import of the goods you purchase.

8.6 Notwithstanding the foregoing, nothing in these terms and conditions is intended to limit any rights you might have as a consumer under applicable local law or other statutory rights that may not be excluded nor in any way to exclude or limit our liability to you for any death or personal injury resulting from our negligence.

9. DUTIES AND TAXES

If you order goods for delivery overseas from our site you will be responsible for any import duties and taxes.

PROVISIONS APPLICABLE TO THE SERVICE AS OPERATED BY DIGITAL

11. THE SERVICE

(a) The Service allows you to listen to Clips (as defined below) and buy non-physical digital sound recordings, artwork and information relating to such sound recordings, and other content (collectively, "Music Content").

12. MUSIC CONTENT

(a) RIGHTS GRANTED: Upon payment for the Music Content, Digital grant you a non-exclusive, non-transferable right to use the Music Content only for your personal, non-commercial, entertainment use subject to this agreement.

(b) RESTRICTIONS TO RIGHTS GRANTED: The Music Content is owned by Digital, its business partners, affiliates and/or licensors, as applicable. You must comply with all applicable copyright and other laws in your use of the Music Content. Except as set out in clause 11 (a) above you may not or allow others to redistribute, transmit, assign, sell, broadcast, rent, share, lend, modify, adapt, edit, sub-licence or otherwise transfer or use the Music Content. Digital does not grant you any synchronisation, public performance, promotional use, commercial sale, re-sale, reproduction or distribution rights for the Music Content. You agree to advise Digital promptly of any such unauthorised use(s).

13. USE OF THE SERVICE:

(a ) USE OF MUSIC CONTENT: You agree that the content rights holders that license their musical or other content to Digital for use in the Service are intended third-party beneficiaries under these Conditions with the right to enforce the provisions that directly concern their content. You understand that your use of the Music Content is subject to the Usage Rules discussed below.

(b) SOFTWARE: All software made available by Digital on or through the Service is protected by intellectual property laws and your use of it is governed by these conditions as well as any applicable end-user licence agreements.

(c) USAGE RULES: Your access to and/or use of any Music Content will be limited by the rules assigned to the Music Content by Digital ("Usage Rules") and described in this section. You may not attempt (or support others' attempts) to circumvent, reverse engineer, decrypt, or otherwise alter or interfere with any Usage Rules or Music Content. Digital reserves the right to modify the Usage Rules at any time and your continued use of the Service after each such modification shall be deemed acceptance of any such modification.

A "Clip" is a portion of a track or promotional music video that you can play (and, if applicable, view) directly from and while you are logged on to the Service on a promotional basis at no cost to you. You may play as many Clips as you like.

You may not attempt (or support others' attempts) to capture, copy, or download a Clip.

(d) PRODUCT AVAILABILITY: Technical problems or expiry of Digital's right to make certain Music Content available may at times delay or prevent delivery of purchased Music Content to you. Receipt of your order or request does not guarantee that Digital can supply the selected products to you. All of the Music Content featured as part of the Service is subject to availability. Your sole remedy with respect to content or purchased Music Content not delivered will be a refund of the price paid for such Music Content

(e) RESTRICTIONS ON USE: You may not use the Service to transmit, display, perform or otherwise make available any messages, content or materials (i) that are illegal, obscene, pornographic, inflammatory, threatening, of a "spamming" nature, defamatory, or invasive of privacy; (ii) that constitute political campaigning or commercial solicitation or that contain software viruses or other computer code designed to interfere with the functionality of any computer systems; or (iii) that infringe third party rights or harm minors in any way. Digital will fully co-operate with any appropriate authority or Court order requesting or directing Digital to disclose the identity of anyone posting any such information or materials. You may not interfere with or disrupt the Service or any networks connected to or by the Service. In addition, you may not use a false email address or otherwise mislead Digital or other members as to your identity or to the origin of a message or content. By posting messages, inputting data, or engaging in any other form of communication through the Service, you agree that Digital may copy, sublicense, adapt, transmit, publicly perform or display any such content to provide and/or promote the Service subject always to applicable legal restrictions, and/or to respond to any legal requirement, claim or threat. If Digital's use of such content exploits any proprietary rights you may have in such material, you agree that Digital has an unrestricted, royalty-free, non-exclusive and perpetual worldwide right to use such material as described above. You agree that any loss or damage of any kind that you incur as a result of the use of any messages, content or material that you upload, post, transmit, display or otherwise make available through your use of the Service is solely your responsibility.

(f) All rights not expressly granted are reserved to Digital and/or its licensors.

14. CHARGES / BILLING

(a) AGREEMENT TO PAY: You agree to pay for all Music Content that you purchase through the Service and Digital may charge your debit, credit card or Paypal account for any such payment(s). Digital may, in its discretion, post charges to your credit card individually or may aggregate your charges with other purchases you make on the Service. You are responsible for keeping your Digital account secure and confidential and you will be responsible for any charges that are incurred by any person through your account. All charges will be billed to the payment method you designate when you first make a purchase or incur a charge. All prices include VAT (where applicable) at the current rates chargeable in the UK for the time being

(b) RIGHT TO CHANGE PRICES: All prices for products within the Service are subject to change by Digital at any time. While Digital tries to ensure that all prices on our site are accurate, errors may occur. If Digital discovers an error in the price of any goods or services you have ordered it will give you the option of reconfirming your order at the correct price or cancelling it. If Digital is unable to contact you it will treat the order as cancelled.

(c) ELECTRONIC CONTRACTS: You agree that any submissions you make for electronic purchases constitute your intent and agreement to be bound by the terms of and to pay for such purchases. To the extent that such electronic purchases are offered to you by a third party, you acknowledge that Digital shall not be responsible or liable to you for the products or services purchased.

(d) CANCELLATION: You cannot cancel your purchase of Digital Downloads once delivery has started. By placing an order to purchase Digital Downloads using the Service you acknowledge and agree to this.

15. EXPLICIT CONTENT

Digital shall have no liability or responsibility to you for any content or materials, including Stickered Tracks, that may be available in connection with the Service that you might find offensive, indecent or objectionable.

16. INFRINGEMENT OF INTELLECTUAL PROPERTY RIGHTS

If Digital receives a notice alleging that you have engaged in behaviour that infringes Digital's or any other party's intellectual property rights or reasonably suspects the same, Digital may suspend or terminate your account without notice to you. If Digital suspends or terminates your account under this paragraph, it shall have no liability or responsibility to you, including for any amounts that you have previously paid.

17. PROMOTIONS AND ADVERTISING

Digital and/or its business partners may present advertisements or promotional materials on or through the Service. Your participation in any promotional event is subject to the terms and conditions associated with that event. Your dealings with, or participation in promotions by, any third party advertisers on or through the Service are solely between you and such third party. You agree that Digital shall not be responsible or liable for any loss or damage of any kind incurred by you as the result of any such dealings or as the result of the presence of such third parties on the Service.

18. MODIFICATIONS TO THE SERVICE

Digital reserves the right at any time and from time to time to modify or discontinue, temporarily or permanently, the Service (or any part thereof) with or without notice to you, without any liability to you or to any third party.

19. REMEDIES

You agree that any unauthorised use of the Service, the Music Content or any related software or materials may result in irreparable injury to Digital and/or its affiliates or licensors for which money damages would be inadequate, and in such event Digital, its affiliates and/or licensors, as applicable, shall have the right, in addition to other remedies available at law and in equity, to seek immediate injunctive relief against you. Nothing contained in these Conditions shall be construed to limit the remedies available pursuant to statutory or other legal authority that Digital, its affiliates and/or licensors may have.

20. DISCLAIMERS

You understand and agree that your use of the Service and Music Content is at your own sole risk. The Service and Music Content (the "Products") are provided "as is" and without warranty by Digital or its agents, employees, parents, subsidiaries, affiliates, licensors, business partners and/or suppliers (the "Digital Entities"), as applicable, and, to the maximum extent allowed by applicable law, the Digital Entities expressly disclaim all warranties, express or implied including, but not limited to, implied warranties of merchantability and fitness for a particular purpose and any warranty of non-infringement. The Digital Entities do not warrant, guarantee, or make any representations regarding the use or the results of the use of the Products with respect to performance, accuracy, reliability, security capability or otherwise. You will not hold any Digital Entity responsible for any damages that result from you accessing the Service or using the Products including, but not limited to, damage to any computer, software or systems or portable devices you use to access the same. No oral or written information or advice given by any person shall create a warranty in any way whatsoever relating to any of the Digital Entities.

Digital makes no warranty that any particular CD burner or portable device will be compatible with the software used to download Music Content or other material or that any CD burned using the software to download the Music Content or other material will function in all CD players. It is your sole responsibility to ensure that your system(s) will function correctly.

Under no circumstances shall any Digital Entity be liable for any unauthorised use of the Service, Music Content or any other materials.

Under no circumstances shall any Digital Entity be liable to you for any consequential, incidental or special damages (including damages for loss of business profits, business interruption, loss of business information, and the like) arising out of the use of or inability to use the Products, even if the Digital Entity has been advised of the possibility of such damages.

GENERAL PROVISONS APPLICABLE TO BOTH BOOMKAT & DIGITAL

21. CHILDREN

If you are under 18 you may only purchase goods from Us or make use of the Service with the involvement of a parent or guardian.

22. CREDIT CARD SECURITY

We and Digital both place great importance on keeping secure the credit card details you provide and to that end We and Digital use security systems which comply with the Payment Card Industry Data Security Standard, a worldwide standard for data protection across the payment industry.

23. FORCE MAJEURE

We shall have no liability to you for any failure to deliver any items which you have ordered or any delay in doing so or for any damage or defect to goods delivered that is caused by any event or circumstance beyond our reasonable control including, without limitation, strikes, lock-outs and other industrial disputes, breakdown of systems or network access, flood, fire, explosion or accident.

24. LIMITATION OF LIABILITY

In the event that either We or Digital are held to be in breach of the Conditions the extent of any such liability shall be limited to loss that would have been reasonably foreseeable by you and Us or Digital (as the case may be) at the time the contract between you and Us and/or Digital (as the case may be) was formed (as determined in accordance with the foregoing provisions) and in any event any liability of Us or Digital (as the case may be) shall be limited to the value of the goods ordered by you in the relevant transaction. Nothing contained in the Conditions shall be deemed however to limit Our or Digital's (as the case may be) liability for death or personal injury arising as a result of negligence on the part of Boomkat or Digital (as the case may be). To the extent that any disclaimer or limitation on damages or liability in these Conditions is prohibited or limited by applicable law, then Boomkat and Digital (and if applicable the Digital Entities) shall be entitled to the maximum disclaimers and/or limitations on damages and liability available at law or in equity and in no event shall such damages or liability exceed £100.00.

25. THIRD PARTY RIGHTS

Except for our affiliates, directors, employees or representatives, a person who is not a party to this agreement has no right under the United Kingdom Contracts (Rights of Third Parties) Act 1999 to enforce any term of this agreement but this does not affect any right or remedy of a third party that exists or is available apart from that Act.

26. LAW AND LEGAL NOTICES

These Conditions and any other terms or documents referred to herein represent your entire agreement with Us and Digital with respect to your use of the services offered by them respectively. If any part of the Conditions is held invalid or unenforceable, that portion shall be construed in a manner consistent with applicable law to reflect, as closely as possible, the original intentions of the parties, and the remaining portions shall remain in full force and effect.

The laws of England and Wales govern the Conditions and your use of the Service and the Tracks. You agree that the English Courts have jurisdiction over any claim or dispute whether with Us or with Digital or relating in any way to your account or your use of the Service or the Tracks.

Privacy

Boomkat are committed to protecting and respecting your privacy.
We do not send unsolicited emails to customers, and do not pass on
your private details to any third parties.

This policy (together with our terms of use: www.boomkat.com/terms)
and any other documents referred to on it sets out the basis on which
any personal data we collect from you, or that you provide to us,
will be processed by us. Please read the following carefully to
understand our views and practices regarding your personal data
and how we will treat it. By visiting boomkat.com you are accepting
and consenting to the practices described in this policy.

INFORMATION WE MAY COLLECT FROM YOU

We may collect and process the following data about you:

Information you give us. You may give us information about
you by filling in forms on our site http://boomkat.com or by
corresponding with us by phone, e-mail or otherwise. This
includes information you provide when you register to use our
site, subscribe to our service, search for a product, place an
order on our site, enter a competition, promotion or survey,
or when you report a problem with our site. The information
you give us may include your name, address, e-mail address
and phone number, financial and credit card information, or
any other personal description.

Information we collect about you. With regard to each of your
visits to our site we may automatically collect the following
information:

technical information, including the Internet protocol (IP)
address used to connect your computer to the Internet, your
login information, browser type and version, time zone setting,
browser plug-in types and versions, operating system and platform;

information about your visit, including the URL clickstream to,
through and from our site (including date and time); products
you viewed or searched for; page response times, download errors,
length of visits to certain pages, page interaction information
(such as scrolling, clicks, and mouse-overs), and methods used
to browse away from the page

COOKIES

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. For
more information on the cookies we use and the purposes for which
we use them see our Cookie Policy further down the page.

USES MADE OF THE INFORMATION

We use information held about you in the following ways:

Information you give to us. We will use this information:

To process your orders

to carry out our obligations in providing you with the
information, products and services that you request from us;

to provide you with information about other goods and services we
offer that are similar to those that you have already purchased or
enquired about;

to provide you with information about goods or services we
feel may interest you.

to notify you about changes to our service;

to ensure that content from our site is presented in the most
effective manner for you and for your computer.

Information we collect about you. We will use this information:

to administer our site and for internal operations, including
troubleshooting, data analysis, testing, research and statistical
purposes;

to improve our site to ensure that content is presented in the
most effective manner for you and for your computer;

to allow you to participate in interactive features of our
service, when you choose to do so;

as part of our efforts to keep our site safe and secure;

to make suggestions and recommendations to you and other users
of our site about goods or services that may interest you or them.

DISCLOSURE OF YOUR INFORMATION

We may share your personal information with any member of our
group, which means our subsidiaries, our ultimate holding company
and its subsidiaries, as defined in section 1159 of the UK Companies
Act 2006.

We may disclose your personal information to third parties
If we are under a duty to disclose or share your personal data
in order to comply with any legal obligation, or in order to
enforce or apply our Terms of Website Use (www.boomkat.com/terms)
and other agreements; or to protect the rights, property, or safety
of Boomkat Limited, our customers, or others.

WHERE WE STORE YOUR PERSONAL DATA

The data that we collect from you may be transferred to, and stored
at, a destination outside the European Economic Area ("EEA"). It may
also be processed by staff operating outside the EEA who work for us
or for one of our suppliers. Such staff maybe engaged in, among other
things, the fulfilment of your order, the processing of your payment
details and the provision of support services. By submitting your
personal data, you agree to this transfer, storing or processing.
We will take all steps reasonably necessary to ensure that your
data is treated securely and in accordance with this privacy policy,
all information you provide to us is stored on our secure servers.

We take the security of our website and of your transactions
extremely seriously. We encrypt all traffic involving personal
data with industry-standard SSL certificates and we are also PCI
compliant - meaning that we follow all current data security
standards and undergo weekly scans monitoring our security status.

Additionally, we do not store any card details at all, all payments
are handled using a system of Tokenisation which is an
industry-standard method of secure payment handling. When you place
an order with us payment is either handled via your Paypal account
or if you choose to pay by credit/debit card we create a "Token"
with your payment details which is stored by the Bank payment gateway.
When you return to make a purchase it basically reactivates the
"Token" so no details need to be entered again and those details
are not stored by us.

Where we have given you (or where you have chosen) a password
which enables you to access certain parts of our site, you are
responsible for keeping this password confidential. We ask you
not to share a password with anyone.

Although we will always do our best to protect your personal data, we
cannot 100% guarantee the security of your data transmitted to our site
due to the nature of the internet. Any transmission is at your own risk,
but once we have received your information, we will always use strict
procedures and security protocols to try to ensure the safety of that
information.

CHANGES TO OUR PRIVACY POLICY

Any changes we may make to our privacy policy in the future will be
posted on this page. Please check back to see any updates or changes
to our privacy policy.

CONTACT

Questions, comments and requests regarding this privacy policy are
welcome and should be addressed to contact@boomkat.com.

COOKIE POLICY

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. By
continuing to browse the site, you are agreeing to our use of cookies.